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Media Measurement

Consumers have more media content, channels and more choice of devices than ever before.

Advertisers, media owners and media buyers need to identify which digital and traditional channels are most successful at attracting the right audiences.

Our audience measurement solution is the trading currency for television (e.g. TV ratings), print, radio, out-of-home, online and mobile media. We track which consumers are using what channel, how they are engaging with content across each medium and what is driving their behavior.

With this detailed view of consumers’ content appreciation our clients not only get ratings of what people are watching or listening to – they also know why. Our cross-media measurement shows what devices your audiences are using for each channel and type of content, and we evaluate your marketing efficiency and performance across the whole spectrum of channels.

We help you optimize your channel selection and content to deliver increased audience engagement, end-to-end.

Read more about Media Measurement

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Success Stories
  • Connecting the dots between digital and traditional media

    Connecting the dots between digital and traditional media

    15.03.2016

    We investigated the role of social media chatter in generating awareness and readership of Vanity Fair’s Caitlyn Jenner issue.

    Vanity Fair is an influential and iconic magazine published by Condé Nast.

    Situation

    Most media planners crave insight and data about how digital and traditional media can work together. The much talked about issue with Caitlyn Jenner on the cover offered us a perfect opportunity to explore this topic. We wanted to investigate what impact, if any, the social media buzz can have on the readership of the July issue in its traditional printed format.

    Approach

    Over a nine-week period, we surveyed 1,798 adults online who said they had read the July issue of Vanity Fair.

    Outcome

    • Four in ten adults who read the magazine first heard about the Jenner cover on social media
    • 40% of adults (ages 18+) who read the July issue had not read Vanity Fair in the previous 12 months
    • Nearly half (47%) of those readers were aged 18 and 34, indicating that the coveted millennials do read print magazines, contrary to the conventional wisdom
    • The big challenge for publishers is generating awareness among these younger readers – and it looks like social media can help with this

    Click here to download the success story

  • Optimizing TV content for a demanding audience

    Optimizing TV content for a demanding audience

    31.01.2016

    Our research helped this TV network shape its new television show featuring a Brazilian icon.

    Situation

    A broadcaster needed information about how viewers would respond to a popular entertainer’s return to the airwaves after a short absence. After the launch of the program, the company wanted to track the audience’s response to its format and content.

    Approach

    We explored social media conversations to determine which elements viewers might value in the show, and how these aligned with the host and the network. A subsequent quantitative study gauged the target audience’s intention of watching the program.

    After the launch, we tracked viewers’ behavior and opinions by integrating social media insights with audience data from the broadcaster and data from our online panel.

    Outcome

    We found that Brazilians were receptive to a new show because television program options during the evening time slot were limited.

    After the launch, we tracked user-generated content on social networks to see what elements of the show were resonating with the audience. This information helped producers strengthen the show’s content.

    Our advice also helped the commercial team to target sponsors with brands that would be a good match for the profile of the program and its audience.

    Click here to download our success story (short version)

    Click here to download our success story (long version)

     

     

Latest insights

Here you can find the latest insights for Media Measurement. View all insights

    • 02/03/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Mobile and Location Insights
    • Canada
    • English

    Smartphone Users Spend as Much Time on Entertainment as Texting – GfK MRI Study

    According to new GfK MRI research, today’s smartphone user is just as likely to be seeking mindless entertainment – playing a game or streaming a video – as connecting with friends and family through texting or other modes. 

    • 01/21/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Canada
    • English

    Is it a Netflix world after all?

    Netflix’s recent announcement of their international expansion in 2016 is not unexpected, but still somewhat breathtaking in its scope. While it may seem natural to those in the United States, where Netflix holds a dominant position in the Subscription Video on Demand (SVOD) space and in other early markets where it is a well-known brand, but this latest overseas growth is not as much “a sure thing” elsewhere.

    Eight key concerns for entering developing markets

    Certainly Netflix will enter these new markets with a well-known brand name, which may be less connected to its actual content than to the fact that US-originating digital brands often have a leg-up on local brands. Netflix will generally appeal to affluent, Western-oriented consumers outside of the North American and Western European markets. But Netflix will have a number of concerns when entering these other developing markets that make up much of the dozens being added. These include:
    • Local competitors in the Pay TV or streaming space may themselves have a dominant position. GfK works with a number of providers in the markets in which Netflix has newly launched to understand how their services are consumed. We often see a large cohort of subscribers actively viewing the kind of on-demand content that Netflix dominates in the US. These are consumers who are well served by streaming or on-demand content. For example, local South East Asian player iFlix has already built up an impressive half million subscribers in a short space of time.
    • The streaming rights to local content of interest may be held exclusively by other services.
    • The streaming rights to even Netflix’ own content may still be controlled by other providers, based on older agreements.
    • Netflix’ original, exclusive Western-focused content may not have an appeal in different cultures. Again, GfK’s work in providing Return Path Data (RPD) services have taught us that local content is absolutely crucial in building a strong customer base – even in markets where the kind of Western-oriented programming in which Netflix concentrates is popular. Netflix itself recognizes this by focusing much of its strategy on creating local content for its various markets.
    • There may be local laws regarding a certain level of locally originating content.
    • Internet access in certain countries may be limited across the population or intermittent.
    • The governments or entities controlling Internet access may arbitrarily cut access based on disagreement with content, or may use such power to censor or control what content is offered.
    • In many markets, particularly in APAC, advertiser-supported or illegal websites are often well established as sources for watching video content. So there may be resistance to paying for content that consumers have traditionally accessed by other ‘free’ means.

    Netflix’s big data advantage

    That being said, Netflix has consistently outperformed expectations of industry experts and those in the financial markets. Its daring moves in the past have mostly panned out. And, aside from content, it has an understanding of its consumers – through the use of its own collected big data – with which few of its potential competitors can hope to compare. As for its competitors, frenemies, and partners – some being all three – the growth of Netflix raises questions that only third-party accounting of Netflix can answer. This way their competition or partnership with Netflix is on a more level playing field. What do you think about Netflix’s expansion? Do you see other challenges? I would like to hear your opinion as well.
    For more information, please contact me at david.tice@gfk.com.
    • 12/22/16
    • Media and Entertainment
    • Media Measurement
    • Connected Consumer
    • Global
    • English

    Queen Elizabeth II – The jewel in the Netflix Crown?

    Released in its entirety on November 4, 2016 and reported to have cost around £100m to produce, The Crown is one of the most ambitious projects that Netflix has taken on to date. A 10 part original series (essentially a biopic) about Queen Elizabeth II, recounting her life from the royal wedding in 1947, right up to the present day, the show has been celebrated by all sides of the media, frequently being described as “faultless”, “magnificent”, “engaging” and “gripping”. So what do we know so far about The Crown’s first few weeks on the service? Firstly, amongst our sample of Netflix users, The Crown was the top streamed title on Netflix in November 2016, showing that the release has been heavily streamed amongst users. But what was driving users to the show? Sheer curiosity or perhaps something else?

    Netflix’s Marketing of The Crown

    30% of Netflix users said they watched The Crown because it was recommended to them by someone, or simply because it looked and sounded interesting. However, a third of users also said that they had watched the series because it featured in the ‘recently added’ section of the service, and half also claimed that external advertising had influenced their viewing choice. It is clear that Netflix were determined for this to succeed – not only was the show expensive to produce, but campaign spend across all media for The Crown was one of the highest of 2016  ensuring that the investment would not be appreciated by just users, but also reach and appeal to a wider audience. Finally, in November, compared with the rest of 2016, a higher proportion of respondents say they signed up to Netflix in order to watch exclusive content not available elsewhere. However, the jury is still out as to whether The Crown itself was driving this. Early indications are that it attracted existing users to view rather than acted as a drive to sign up new ones.

    Who was watching The Crown and why?

    In its first month of release, the demographic profile of those watching The Crown has shown some interesting results. Firstly, a fifth of the show’s viewers are aged 55+. This is a slightly higher proportion of older users watching than for Netflix content overall and also in contrast to new releases such as Stranger Things, which primarily attracted a younger audience within its first few weeks of release. It does highlight the strength of Netflix’s commissioning policy, allowing them to target different types of viewers by commissioning shows with differing demographic appeal. When asked why they started watching the title in the first place, respondents mostly indicated that it was because they had a general interest in the Queen or the Monarchy or because they wanted to find out more about this period of time in British history. But what is remarkable is how few people said they started watching the title because of the A-list cast that has been employed (Claire Foy and Matt Smith both star), or because of the quality of the production for the title, further demonstrating that this title was perhaps designed to target an audience of lighter viewers less engaged by marquee names and more by the program content.

    Was The Crown a success?

    Defining a success when talking about Netflix titles can be difficult. If we look at overall content ratings, The Crown performed well. When asked to rate the show on a scale of 1 to 10, The Crown achieved an average score of 9.0 which is higher than all  Netflix titles that score an average of 8.7. Compared to other recent celebrated titles, such as Stranger Things, Making a Murderer and Narcos, The Crown achieves relatively similar levels of satisfaction. Furthermore, when we look at whether viewers are likely to recommend this title to others (again on a scale of 1 to 10), it scores in line with Netflix Originals on average, but slightly lower when compared to recent releases. So in terms of satisfaction and recommendation, The Crown can be called a success, but perhaps more was expected from this title, given the scale of investment into the show. Overall though, The Crown can be considered a success. Critics and viewers have both celebrated the show, and early data is indicating that the title is both driving viewing as well as appealing to a lighter viewing audience demographic for Netflix. Furthermore, exposure for the SVOD service has also increased due to positive press attention and increased marketing activity. Content producers like the BBC and ITV must have taken notice at the bigger financial bets Netflix are prepared to make to increase their audience shares, which must ultimately leave them slightly nervous about the future, and fortifying Netflix’s position as a serious threat to such traditional players in the media landscape.
    • 11/25/16
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    GfK spins out Genius Digital’s Subscriber Intelligence Business

    Genius Digital has been bought back fully by its founders. GfK retains the powerful return path data and analytics capabilities which have grown substantially under GfK’s ownership.
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